Met in 1913 through Altman’s bequest.Tiffany Racco 2023[1] Negro and Roio 1998, p. – Shearman 2003, pp. 158–59[4] Negro and Roio 1998, pp. 116–17[5] Hickson 2009, p.
collection/search/436333 https://www.metmuseum.org/art/collection/search/436333 Link
collection/search/468720 https://www.metmuseum.org/art/collection/search/468720 Link
This is one of a very few works that may be attributed to Berlinghiero based on analogies of style with a Crucifix in the Museo di Villa Guinigi, Lucca, that is signed „Berlingherius me pinxit.“ The painter—a key figure in the history of Tuscan painting—was from Volterra and is first documented in 1228 together with his two sons Barone and Bonaventura, both of whom, together with a third son, Marco, also became painters
collection/search/435658 https://www.metmuseum.org/art/collection/search/435658 Link
Here is a link to download the audio instead.
Here is a link to download the audio instead. Playlist 7021.
[Before 1963, with Ayoub Rabenou]; from 1963, on loan by The Guennol Collection (Alastair Bradley Martin’s collection) to the Museum (L.63.10.2); until 1994, Alastair Bradley Martin’s family; acquired by the Museum in 1994, purchased from The Merrin Gallery, New York
[adapted from Benzel, Kim, Sarah B. Graff, Yelena Rakic, and Edith W.
Beads (1980.456, .457) and pendant (30.95.37)Among the luxury arts that flourished under the Fatimid caliphs, gold jewelry stands out for its innovation and complexity. According to literary sources, prodigious amounts of such jewelry were manufactured for both royal and patrician patrons; most of these items were later melted down for currency or refashioned into newer pieces
collection/search/706058 https://www.metmuseum.org/art/collection/search/706058 Link
collection/search/437835 https://www.metmuseum.org/art/collection/search/437835 Link
collection/search/488298 https://www.metmuseum.org/art/collection/search/488298 Link
collection/search/363942 https://www.metmuseum.org/art/collection/search/363942 Link
